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Then, a white boy, from an acting Nazi family, by the name of Rudy Steiner, also the best-friend of Liesel, took some charcoal and “[h]e smeared the charcoal on, nice and thick, till he was covered in black. The irony in this falls on the fact that a young boy who is supposed to be following the Nazi motives, wishes to be a man who does not fall under the “master race. This one is as simple as the name of the street in which the Hubermanns live on. The final occurrence of irony here deals with Max, the wandering Jew who was taken in by the Hubermanns.
’ A third occurrence of foreshadowing in this novel is a discrete example of this device.This novel explores a unique method of narration by handing the point of view to Death itself.While enhancing the point of view, Death also contributes in his narration elements of foreshadowing and irony.Zusak uses this to include factors the contradict what you might think; this adds effect and in some cases, foreshadowing (hence the last paragraph).For instance, in 1936 Jesse Owens, an African American athlete, won four gold medals at the Olympics in Berlin, which infuriated Hitler because his “master race” athletes were beaten. ” (Zusak 57) Then he went out to the Hubert Oval track, and while narrating his race, ran the 100 m as if he was Jesse Owens. ” (Zusak 26) Now, along with giving the reader a sense of irony Zusak also contributed a slight foreshadowing, as by even having to remark that Himmel Street was far less than heaven, it was a indication that something perilous was bound to happen there.After a stock character, named Frau Holtzapfel, spits on the door of the Hubermans, Death remarks, “Both [of her sons] were in the army and both will make cameo appearances by the time we’re finished here, I assure you.” (Zusak 44) This hint at the future of the book is a preparation of what is to come for these characters, and if caught, is very important.When death comes back into Liesel’s life to take her this time, he brings her a gift.Death went back through the ruined Himmel Street to find the Liesel’s book from the rubble, and he gave her the dusty black book from his pocket,” (Zusak 549) Liesel’s book, The Book Thief.Death spoke about sufferings with the Parisians: “When their bodies [the Jews] had finished scouring for gaps in the doors, their souls rose up…their fingernails had scratched at the wood and in some cases were nailed into it by sheer force of desperation…” (Zusak 349) Death keeps the reader aware of the WWII happenings both in and out of Molching.The final piece of evidence that demonstrates variety in the character of the narrator is found at the very end of the book.